
WIAH 



1900 



A RACE FOR LIFE 



A Sensational Comedy Drama^ 



Five Acts. 



BY 



DAVID CONGER, 

No. 986 West Congress Street^ 
CHICAGO, ILL. 



Entered according to Act of Congress, in the year J 900, by DAVID CONGER, in the 
Office of the Librarian of Congress, at Washington, D. C. 






~— - O COPIES RECEIV E, . 

uJi^rary of CeBgra8% 
^fffae 8f tiie 

.NOV 28 I90U 



CAST OF CHARACTERS. 



EDWARD CLEVELAND, alias Capt. 

Kettle. 
JOHN CLEVELAND. 
BARON La VELLE. 
TOM DUTTON. 
LOUIS SEAVER. 
PUG MURPHY. ■ 
BLINKY MOORE. 



DUMMY. 

EXTRA JIMMY. 

CAPT. BURNHAM. 

MATE OF THE GREAT AMERICAN. 

MRS. CLEVELAND, formerly Madam 

La Farge. 
DORIS MAYNARD. 
ANGELINA WILLINGHAM. 



Policemen, Citizens, »&c. 

Place, New York. Time, the present. 

Warning. — This play is printed, not published, and must not be produced 
without permission of the author. 



ACT RIRST, 



SCENE FIRST ACT. 

Pier North River. All entrances made 
H. and L. 1 B. -As curtain rises, excur- 
sion boat is seen to leave end of pier up 
stage. L. of pier, stern of large ocean 
vessel. Other vessels seen at R. 

BLINKY. How's business? 

DUMMY. Rotten! Rotten! The poorest 
bunch I ever saw go out on a moonlight 
excursion. 

BLINKY. Dat's right, dey's as hard up 
.as a gang of volunteer soldiers. 

DUM. I felt like trowin' me sign in the 
river and callin' 'em cheap skates. 

BLINKY. I wouldn't have brought you 
down here at all if the guv'ner hadn't 
told me to> (Dum. crosses to Blinky). 
Dere's some game afoot to-night. I 
don't know what it is yet, but I knows dis 
much, dere's lots of work and lots of 
money in it; the Baron told me so. 

DUM. Well, I'm glad of dat, for I'm 
dead broke, and I'm getting de string halt 
for want of exercise. 

BLINKY. String halt! dat makes me 
tink — I wonder if Firefly has come in yet? 

DUM. Say, I've got $5.00 on that boss 
meself. 



(Extra Jimmie heard off stage). 

Here you are for the evening papers; 
full account of the R. R. accidents, sui- 
cides, murders and how Admiral Samp- 
son won the battle at Santiago. (Enter 
Jimmie R. 1 E.) Paper! Paper! (Dum. 
and Blinky L.) 

BLINKY. Yes, give us a paper with the 
latest race reports. 

JIMMIE. Here you are. The Yellow 
Bugle. (Looking closely at the beg- 
gars). 

BLINKY. How much? (Feels for 
money). 

JIM. Two cents, of course; do you 
want department store prices? 

BLINKY. Now, now, don't get gay wid 
de blind man, see! (Gives him 2 cents). 

JIM. Blind rats! Say, look here, these 
pennies are counterfeit. 

BLINKY. Who says dere queer? Let 
me see 'em. (Jim shows them). Say, 
what ye trying to do, give me the laugh? 
Dat money's all right. 

JIM. I know it is, only I thought you 
couldn't see. 

DUM. Git out o' here, kid, you're too 
fresh. 

JIM. And a dummy what's got his 
tongue back. Oh, you're a lovely pair of 
robbers. 

BLINKY. You close your trap or I'll 
rob you of your breath. 

JIM. If you do I'll make your deaf and 
dumb friend talk himself to death. 
(Backs up stage; Blinky follows threat- 
eningly). 



DUM. Trow him in de river, Blinky. 

JIM. Don't you do it, it would shrink 
me broadcloth suit. 

BLINKY. I'll give you a rap on de jaw 
and shrink your lip. Oh, take a roll for 
your supper. (Jim backs up to end of 
pier, where a barrel lays on its side, he 
gives it a shove, it rolls against Blinky, 
who falls over it in a heap; Jimmie comes 
down, kicks cup of coins from Dummy's 
hand; Dummy picks up all he can, Jim 
does the same, while Blinky is trying to 
get up). Jim is near R. 1 B. 

(Enter Baron and Pug Murphy R. 1 B.) 

PUG. What's all this row? 

BLINKY. Catch him. Pug. 

DUM. He's robbing me. 

(Pug makes rush for Jim, Baron guards 
R. IB.; Dum. L. 1 B. ; Jim dodges Pug, 
runs R., butts Baron in stomach as Pug 
gets him. Baron puffing for breath). 

PUG. Oh, no, you don't, I've got you! 
Now, what's up, Blinky? 

BLINKY. He's been calling us names, 
threatened to tell the police we was run- 
ning a bluff. He tried to dump me in the 
river and then he robbed Dummy. 

DUM. Yes, he's got some of my money 
now. (Pug and Jim, C; Baron, R. ; 
Blinky, up R. ; Dummy, L.) 

PUG. Now, you young fresh, give up 
that money. 

JIM. Not much! This is where the last 
thief gets the best of it. 

PUG. (With back to R. 1 B.) Give up 
that money, or I'll turn you over to the 
police. 

JIM. Oh, come off! You wouldn't dare 
show yourself to the police, or they'd 
send you up for life. 

PUG. Is that so? Well, I'll show you. 
(Raises cane). 

(Enter Capt. Kettle, R. 1 E.) Grabs 
cane, throws Pug back, Jim crosses be- 
hind Capt.) 

CAPT. K. And I'll show you how to 
treat a boy, you lubber! 

PUG. Give me that cane or I'll — 

CAPT. K. (Breaks cane across Pug's 
arm). Put your arm down or I'll break 
it. (Tbrows end of cane In river). 

PUG. Say, do you know who you're 
talking to? 

CAPT. K. No, I'm glad to Say I haven't 
that misfortune. 

PUG. (Who is smoking, puts his face 
clrse to Capt.'s). Say, you make me sick. 

CAPT. K. The same to you, your cigar 
is very bad. (Grabs cigar from Pug's 
mouth and throws it in river). 

PUG. (In a rage). Why you — 

CAPT. K. (Handing Pug a cigar from 
his pocket). There's a good Havana; 
never smoke a bad cigar when talking to 
a gentleman. (To Jim). Come, my boy. 
(Exit with Jim, R. 1 B.) 



A RACE FOR LIFE. 



PUG. Well, blow me, if he didn't 
kDcck me out in the first round. 

BARON. Yes, and ze boy, he nearly 
knock me out in ze stomach. 

PUG. You should take some lessons in 
the manly art (assumes pugilistic atti- 
tude) then such little things wouldn't 
bother you. 

BARON. Zen why did not you try your 
manly art on ze man who hit you wiz 
ze cane? 

PUG. Because I'm net ready to die just 
yet; why, if I had hit that dandy sea 
captain, he would have been laid up for 
a week, then some of his jolly sailor boys 
who are around here would have jumped 
down on me and when they were through 
I'd be a student for the morgue. No, sir; 
I tell you there is two kinds of self- 
defense, defend yourself from trouble, 
and defend yourself when you get into 
trouble. 

BARON. Bah! you are like ze English. 

PUG. That's it; fight every time there's 

anything in it; not like the Frenchman, 

who fights for nothing and then gets 

licked. 

BLINKY. Say, guvnor, has Dummy 
and me got time to get a beer? 

BARON. No, you may be needed at any 
moment. Come here and I will tell you 
what you are to do. (They all gather in 
careless attitudes around Baron). 

DUM. Well, give me something to do 
quick, for I'm getting rheumatism for 
want of work. 

BARON. Look out you don't get ze jail 
when you do work, eh, Mistaire Murphy? 
(Chucks Pug in ribs: they all laugh). 

PUG. Yes; but don't call me Mister. 
I'm just plain Pug Murphy, if it's the 
same to you. 

BARON. Oh, oui, your name can be 
what ze boys call mud, for all zat I care. 
BLINKY. (Laughing). That's one en 
the mud. 

PUG. Now you keep still or I'll take a 
fall out of you. 

BARON. Zen zat would be one in ze 
mud. 

PUG. Well, did we come here to do 
business or tell funny stories? 
BARON. For bizeness. 
PUG. Then let's have the scheme. 
BARON. Well, it is ze Madam's big 
game. 

BLINKY. The Madam? 
PUG. What, 4s she going to put her 
new husband on the bum? 
BARON. On ze bum it is. 
PUG. Well, what are we to do? 
BARON. Help abduct the old man. 
BLINKY. What, Cleveland, the bank- 
er? 

BARON. Oui! Monsieur Cleveland, 
Madam's husband. 

PUG. What good will that do any one? 
BARON. He is rich, so very rich — 
PUG. Yes, go on. 

BARON. Well, we are to abduct him, 
then ze Madam will have all his money. 

PUG. Oh, yes, that will make a great 
difference; won't it. She can't get any 



more money than she has now by that 
scheme. I don't propose to take chances 
ou something I can see nothing in. 

BARON. Oh, you do not understand. 
Ze Madam will make it appear that he 
is dead, then all his money vill go to her. 
PUG. Are there no other heirs? 
BARON. Only a son, who ran away 
from home seven years ago, and is 
thought to have been lost at sea. At any 
rate, his father disinherited him, so he 
could get nothing if living. 

BLINKY. Well, what are we wanted 
to do? 

BARON. Cleveland will be here with 
ze Madam in a few moments. Pug, with 
you and Dummy, are to seize Cleveland 
and threw a sack over his head. Ze sack 
vill be throwii to you from that boat. 
(Pcints R.) It vill have a rope fastened 
to it — you are to tie the sack tightly, 
say "all right," and zen get out of ze 
way. 

PUG. But how about the police? 
BARON. Zero vill be but one at ze end 
cf zis beat, and he vill not stop you. If 
he arrests any one, it vill be ze wrong^ 
man. 

PUG. But how will you make people 
think de old man is dead? 
BARON. Zees way — Louis — 
BLINKY. Louis Seaver? 
BARON. Louis Seaver, yes. He will 
impersonate Monsieur Cleveland. I vill 
give a whistle as ze old man is pulled up 
and ze policeman vill come just in time 
to see ze bogus Cleveland commit suicide 
by jumping in ze water; zey will try to 
save him, but vill not succeed; ze Madam 
vill again be a widow and ve vill all be 
rich. 

PUG. Well, that's what I calls a great 
scheme; big money, no blood shed, and 
when we have got all his dough, I sup- 
pose they'll let him go. 
BARON. Zat is it exactly. 
PUG. But how are we to work things? 
BARON. Blinky and Dummy vill take 
their places where they were, so they 
can watch every one who comes on the 
pier. 

BLINKY. Come on. Dummy, take your 
corner. (They do so). 

BARON. Be ready to jump ze moment 
you hear ze signal. "Mr. Plain Pug," 
you come wiz me. (They retire up stage). 
(Enter Tom Dutton and Angelina, L. 1 
E. Tcm ahead, very dejected, with 
hands deep in pockets; Ang. following, 
very angry). 

ANGELINA. A nice way to bring a 
lady down in such a locality, and then 
discharge the carriage before you know 
where you are. 

TOM. Well, didn't Capt. Kettle say his 
beat, "The Rover," lay near pier 66? 

ANG. No; he didn't say anything of the 
kind. 

TOM. He didn't? Then I must have 
dreamed it. 

ANG. No; you didn't dream it either; 
he wrote the address on a card at the 
theatre during rehearsal yesterday. 



A RACE FOR LIFE. 



TOM. Well, then, he wrote it, if that 
makes any difference. (Feels in pockets 
for card). And I'll show you the card to 
prove that I am right. 

ANG. Oh, you've probably lost that by 
this time. I never saw a man yet that 
could keep anything. 

TOM. (Aside). I've got something with 
me to-night I wish I could Icse. 

ANG. What's that? 

TOM. Nothing; only the card. 

ANG. What is the address? 

TOM. On one side it reads, "Capt. Ket- 
tle, in command of the 'Rover,' " and on 
the other side it reads (turns card upside 
down; long wait; Ang. impatient). 

ANG. What does it read? 

TOM. Well, you can take your choice; 
one way it's 66 and the other 99. 

ANG. (Taking card, turning it back 
and forth). We are in a delightful fix; 
of course, we are on the wrong pier. 

TOM. How do you know we are? 

ANG. Oh, because it's just your luck, 
you're such a hoodoo. It's the last time 
I'll go out with a man who is too stingy 
to keep a carriage until he reaches the 
end of his journey. 

TOM. Angelina Willingham, you know 

ANG. Don't call me Angelina Willing- 
ham; you know my right name is Anna 
Will, and that's bad enough. If I saw 
fit to make it a yard long for business 
purposes, that's none cf your business, 
and I won't let you make fun of me. Roll 
up your trousers. 

TOM. I won't. 

ANG. You will. Dn you suppose I am 
going to wander around the streets with 
a man who looks like a farm hand? 
Roll up your trousers. That's the way 
they do in London. 

TOM. (Rolls up trousers). What do 
they do in London with a woman who 
talks too much? 

ANG. Well, any man there would have 
sense enough not to parade her around 
the streets in this manner. The next 
thing we'll be placed under arrest as a 
couple of suspicious characters. 

TOM. Think what good advertising 
matter that would be. "The Great Eng- 
lish Comedienne Under Arrest." Why, 
it would raise your salary a hundred dol- 
lars more a week. 

ANG. It's very plain you would make 
a good "press agent," but, thank you, 
I'm not looking for notoriety in that way. 
I want a better record than that. You 
must have a pretty pcor opinion of me. 

TOM. No, I haven't, dear. 

ANG. Don't dear me. 

TOM. Oh, come now, let's make up. 

ANG. There is nothing to make up 
over. You keep your place and I'll keep 
mine. (Waves him away). 

TOM. Oh, come now, drop it! There's 
no need for ycu to go in the ice busi- 
ness. You know I'm desperately in love 
with you. (Takes her hand, she turns 
her head away). Oh, what's the use of 
tantalizing a fellow? I'll go look for the 
■"Rover," and if I don't find her we'll 



take another carriage and drive to pier 
99. 

ANG. (Half crying). Yes, but the Capt. 
will be tired waiting, and the supper 
will be cold. 

TOM. Then you can warm it with one 
of your smiles (she smiles at Tom), just 
as you are warming my heart with your 
smile now. (Starts to embrace her). 

Capt. K. (Entering R. 1 E.) That will 
do now, billing and cooing out here in the 
fticonlight, while my friends and my sup- 
per are waiting on you. 

ANG. (Running to Capt.) Oh, Capt. 
Kettle, here you are. This silly boy lost 
us both, and we didn't know where to 
turn. 

TOM. (Aside). Now she calls me a boy. 
I wonder what it will be next. 

CAPT. K. Well, you both seemed per- 
fectly contented when I arrived. 

ANG. Yes; you see Tom — Mr. Dutton — 
was apologizing for the awful mess he 
had got me in — 

TOM. Yes, I'm going to finish the 
apology when no one is looking. 

ANG. Now, Tom. 

CAPT. K. (Laughing). Well, I suppose 
you are hungry, and I've several nice 
English dishes waiting for you. Miss 
Willingham. 

ANG. Oh, that is so nice of you. 

TOM. Who are the friends you men- 
tioned are to dine with us? 

CAPT. K. Oh, personal friends of mine. 

TOM. Well, that's all right, so long as 
they are not rival admirers of Anna's. 
You know, Capt., if I were to meet one 
of them on board your vessel, I should 
certainly invite him to fight a duel on 
deck. 

ANG. Oh, Tom, you wouldn't do that, 
would you? (All laugh and start toward 
R. 1 E. Capt. waits for Tom and Ang. 
to pass, then looks L.) 

CAPT. One moment, Tom; do you know 
that elderly couple coming this way? 

TOM. Well, I should say I do. That's 
John Cleveland, one of the wealthiest 
bankers in the city. My cousin, Doris 
Maynard, is his ward. 

CAPT. Yes, I know that, but I was not 
sure I recognized Mr. Cleveland — and the 
lady on his arm? 

TOM. That is Mrs. Cleveland No. 2, a 
French lady, whom he married about 
three months ago. 

CAPT. K. Do you know anything about 
her? 

TOM. No, ncr any one else. She ap- 
peared in society suddenly, married Mr. 
Cleveland suddenly and suddenly became 
disliked by all the family. 

CAPT. K. I'll see you to my boat, then, 
if you don't object, I'll leave you for a 
moment to speak to the old gentleman, 
whom I haven't seen for some time. 

TOM. Certainly, certainly. 

ANG. Of course, we'll excuse you. W'e 
can wait a little, since you waited for us 
so long. (Exit R.) Come along, Tom. 
(All exit R. 1 E.) (Enter Mr. and Mrs. 
C, L. 1 B.) 



A RACE FOE LIFE. 



JOHN C. Why, what a dismal place 
this is. 

MADAM. Yes, isn't it. 

JOHN C. And will their yacht tie up 
here? 

MADAM. Yes, ze telegram said to meet 
ze yacht here, zat my sister was very 
sick, and must be carried to our house or 
to a hospital at once. 

JOHN C. Well, my dear, I am very 
sorry for her. and shall do all I can to 
make her comfortable, but truly, I don't 
like to come down in such a locali# 
alone at this time of night. It is hardly 
safe. 

MAD. Oh, I know, John, dear; but what 
else could I do when my sister needs me? 

JOHN. Quite true, you could do noth- 
ing else, but it seems so strange that you 
never spoke to me of your sister before. 

MAD. Zat was because I was afraid. 

JOHN. Afraid? 

MAD. Yes, afraid zat it would annoy 
you, and zat you would be afraid of my 
relatives bothering you. 

JOHN. Why, what nonsense I 

MAD. Oh. well. I have heard zat ze 
husband does not like to have ze wife's 
folks around him. 

JOHN. That might be in some cases, 
but any of your family, my dear, will 
always be welcome in my house. 

(Enter Capt. K., R. 1 E., comes for- 
ward at once). 

I beg your pardon, sir; I saw you com- 
ing this way, and I have presumed to 
address you, hoping you will ignore the 
resolution you made at our last inter- 
view. 

JOHN. (Sternly). Pardcn me, sir, I do 
not intend to recall anything I have said 
to you in the past. I still refuse to 
recognize you. 

(Louis is seen sliding down side of 
boat by rope disguised as Cleveland. 
Stern of boat is up to dock on L. about 
2d entrance, so he is not seen by those 
up stage at end of pier, and behind John 
C, Madam and Capt. After he reaches 
deck he joins group up stage). 

CAPT. I am not asking you for help, 
I am only asking you to bestow upon me 
a little of that kindness which costs you 
nothing, and which you so willingly 
shower upon others. (Madam retires a 
step). 

JOHN. And have you proven yourself 
worthy of even a kind word from me — 



did you fulfill the one request I made of 
you? No! you refused to gratify my 
fondest hope that would have made others 
happy and made you a man. 

CAPT. Am I less a man because I re- 
fused to have my heart affairs regulated 
by another. If I had complied with your 
wishes, would it not have been cowardly 
on my part, and on your part, asking 
me to marry a woman I had not even 
met. Is not that an insult to my man- 
hood? 

JOHN. Did you follow me here to up- 
braid me? 

CAPT. No, to reason with you; but I 
see that is still impossible. For 7 years 
I have lived without the aid of any 
woman's fortune, or help from you, and 
I would live 70 mere before I would auc- 
tion myself off at the altar to the grand- 
est lady in the land. 

(Madam throws her handkerchief back- 
wards over shoulder. John, L. ; Capt., 
C; Madam. R. ; as Mad. gives signal. 
Pug blows whistle. Blinky and Dummy 
rush to Cleveland from R. 1 and L. 1. 
Louis and Pug come down and grab 
Cleveland; Baron remains up, at same 
time sack is thrown from beat with line 
attached). 

JOHN. Then out of my sight and never 
let me see you again. 

(John is grabbed. Capt. rushes on 
Blinky. knocks him down; Dummy hangs 
on to John; Louis and Pug seize Capt. 
and turn his back to John; Madam 
crosses behind, helps Dum. hold John till 
Blinky picks himself up and grabs him. 
They throw sack over his head and tie 
it at the feet; hoisting rope is tied to 
upper end of bag. xne body is drawn up 
at once out of sight. Blinky, Dum. and 
Pug exit L. 1 E. Louis is struggling with 
Capt. up stage. Madam and Baron, L. 
She cries for help; policeman enters R. 
1 E. as Capt. throws Louis overboard). 

MADAM. Arrest that man for the mur- 
der of John Cleveland. He has thrown 
him overboard. 

OFFICER. (Taps Capt. on shoulder). 
You are my prisoner! 

CURTAIN. 

SECOND PICTURE. 

(Louis seen pulling himself up side of 
boat R. People all looking off end of 
pier). 



ACT SECOIND. 



SCENE I. 

(Interior of old warehouse; full stage; 
packing box on horses C. of stage; Jim- 
mie and Tom discovered taking boards 
off box; Anna up C. looking off). 

CAPT K. (Dressed in prison garb and 
raising head from box). Well, I've done 



a great many dift'erent things in my life, 
but this is the first time I ever played 
Jack in the box. Tom, how are you? 

TOM. First rate! How are you? 

CAPT. As well as could be expected. 
You know a fellow could hardly feel com- 
fortable in such close quarters unless he 
had a few more hinges in his anatomy- 



A RACE FOR LIFE. 



Here, help me out. (Jim and Tom help 
Capt. out. Anna comes down). 

ANNA. (Giving Capt. her hand). Capt. 
Kettle, I am truly glad to see you at 
liberty again. 

CAPT. Thank you. Miss Willingham, 
I am delighted to see you, but must ask 
you to excuse my attire, though I assure 
you, it's quite the style where I came 
from. 

TOM. I see you still retain your cheer- 
ful spirit. 

CAPT. Yes, but that is all I was able 
to bring away with me. I left so sud- 
denly. 

JIM. Mr. Button, Miss Maynard is 
coming. 

CAPT. Miss Maynard? 

TOM. Yes, my cousin; she has been 
greatly interested in your case, and be- 
lieved in your innocence from the first. 

CAPT. Tell me, Tom, was she the lady 
who sent me an encouraging note and 
flov,ers each day of my trial? 

ANNA. Yes, it was. 

TOM. (Aside to Anna). Anna, I am 
sorry you told him, Doris may not like it. 

ANNA. Then she has no business to 
fall in love with a man if she is ashamed 
of it. (Goes up, meets Doris C.) Ob, 
Doris, dear, we are so glad you came. 

(Jim remains up stage keeping guard; 
Tom takes Doris' hand). 

TOM. Cousin, let me present the Capt. 
to you. Capt. Kettle, my cousin. Miss 
Maynard. (Retires up C. with Anna and 
Jim). 

DORIS. (Giving her hand). I am very 
glad to know you, Capt. 

CAPT. And I can most sincerely repeat 
the same to you. (He looks at her a mo- 
ment, she drops her eyes in embarrass- 
ment). I cannot tell you what great sat- 
isfaction it gives a man in my position 
to find that he has suddenly fallen into 
the hands of so many true friends. 

DORIS. I — that is we — have taken a 
great interest in your case, although we 
are related to the man supposed to be 
dead. Yet, we believe in your innocence 
and feel that Mr. Cleveland will soon re- 
turn. 

CAPT. I thank you for your confidence, 
and now that I have gained my liberty, 
I will make short work of the parties who 
are responsible for his absence — the ones 
whose evidence convicted me of a crime 
which I do not believe was ever com- 
mitted. 

ANNA. Then you believe Mr. Cleve- 
land is still alive? 

CAPT. I certainly do. 

TOM. What, then, could be their ob- 
ject? 

CAPT. To get possession of his prop- 
erty, then skip the country. 

DORIS. Yes, but there is a son some- 
where. 

CAPT. True, there is a son some- 
where, but he is a worthless vagabond, 
whom his father has disinherited; there- 
fore, he could claim nothing. 

DORIS. You should not judge him so 
hastily, Capt. But his offense to his 



father was a very manly one, as I heard 
it, and I respect him for his conduct. 

CAPT. You do! Then don't ever 
change that opinion. If he is now a hero 
in your eyes, I beg of you for his sake, 
keep him so, for if he had met you be- 
fore he won his father's curse, he would 
never have been guilty of that act which 
has won j^our admiration. 

DORIS. (Embarrassed). What do you 
mean ? 

CAPT. I mean he would have complied 
with his father's wish and married you. 

DORIS. Then I should have despised 
him for his weakness. 

CAPT. You should not be so unkind as 
to condemn any man for being weak in 
your direction. 

DORIS. Captain! 

CAPT. (Bowing). I beg your pardon. 

DORIS. How is it you speak so know- 
ingly of Edward Cleveland? 

CAPT. Well — you see — we have been 
companions for a long time. 

TOM. (Coming down). Here, Capt., it's 
time you attended to us for a little while. 
We are anxious to know what adven- 
tures you encountered in making your 
escape. 

CAPT. Well, to tell the truth, it was 
a "very uneventful trip. I experienced 
nothing but a sense of closeness after I 
left the prison until you released me just 
now. I had just enough cracks in the 
box to breathe through. 

TOM. Who communicated with you 
first? 

CAPT. The first knowledge I got of the 
plan was through one of the night watch- 
men, who slipped me a note while pass- 
ing in the night. It contained complete 
instructions how to act, and had a post- 
script at the bottom telling me to return 
note to watchman on his next trip, which 
I did, and he, I suppose, destroyed it. 

DORIS. How long was that before you 
escaped ? 

CAPT. The night before. 

TOM. Then they had everything ar- 
ranged before they informed you? 

CAPT. It must have been so, for the 
next afternoon, while we were packing 
a box of shirts for shipment, seme of the 
shafting broke down, and all of the pris- 
oners except myself were called away to 
lend a hand in repairing. I was about to 
follow with the rest, when one of the 
o^erseers shoved me aside and closed the 
door. A few moments after, when my 
fellow convicts returned, I was quietly 
resting inside that shirt box labelled to 
this address, and you know the rest. 
What I would like to know is, how did 
you arrange, such a plan? 

TOM. Why, I have friends who are con- 
nected with the management oif the shirt 
factory at the prison. 

ANNA. Tom would tell you who they 
are, but he has been sworn to secrecy. 

CAPT. Well, it makes little difference, 
so long as I am here. I am deeply grate- 
ful to them, and more so to you, Tom, 
for it is through your efforts originally 
that I am now free. (Takes Tom's hand). 



A RACE FOR LIFE. 



TOM. Oh, don't trouble yourself about 
me, old man; I would do more than that 
for you, if I only knew how. All 
I ask is, make short work of that band of 
thieves who are now almost in control 
of the Cleveland estate. 

CAPT. I will. They think this is only a 
race for wealth, but before this week is 
at an end, they will find it a race for life. 

DORIS. Mrs. Cleveland is carrying 
matters at the house with a high hand. 
It is almost unbearable there. 

CAPT. What is she doing? 

DORIS. She has several suspicious 
characters there a great part of the time. 
One, a certain Baron La Velle, has be- 
come her permanent guest. 

CAPT. Do these other characters come 
there openly? 

DORIS. No, they enter through a base- 
ment door off the side street. It was not 
intended that I should know of their 
visits, but I proved more inquisitive than 
they expected, and have succeeded In dis- 
covering several things not intended for 
me to know. 

TOM. Do they know you suspect any- 
thing? 

DORIS. Yes; only this morning I had 
a scene with Mrs. Cleveland. I think my 
every action is closely watched. 

ANNA. You must be very careful; they 
may try to do you some harm. 

CAPT. Yes, you cannot be too cau- 
tious; should they realize that you were 
spying on them, they would not hesitate 
to put you out of the way, for there is 
no doubt in my mind that we are dealing 
with a most powerful and vicious band 
of criminals. 

DORIS. What shall I do then, see and 
hear nothing? 

CAPT. See and hear everything you 
can without attracting attention, but by 
no means place yourself in any danger, 
for there are those who would feel terri- 
ble should any narm befall you. 

ANNA. Could I be of any service to her 
or you, Capt., if I became established in 
that house? 

CAPT. Of course you could. Y'ou 
might, in some unexpected way, learn 
where Mr. Cleveland is confined. If you 
could do that their game would be block- 
ed at once. 

ANNA. Then I'll do it. 

TOM. What! place yourself in danger 
in that house? 

ANNA. Danger, indeed! Don't you 
think I'm clever enough to take care of 
myself? 

CAPT. She surely is, Tom; I wouldn't 
worry. She has some gcod plan of her 
own, you may depend on it. 

DORIS. I wish you could manage to in- 
stall yourself in the house, Anna, for I 
would feel so much better to have you 
near me. 

TOM. I've got a young Arab here, who 
may be able to help you a great deal, 
Capt. He can put you on to all the ins 
and outs of the tcugh joints and carry 
messages for you. You need not be 
afraid to trust him. Jimmy, come here! 



(Jim comes down; Anna and Doris take 
his place at door, talking together). I 
want to introduce you to your new em- 
ployer, Capt. Kettle. 

CAPT. I'm glad to know you, Jimmy. 

JIM. Same to you, boss. 

CAPT. What's your proper name, 
Jimmy? 

JIM. I guess it's proper to call me Jim. 
Most everybody calls me that or "Extra 
Jimmy." 

CAPT. Extra Jimmy? 

JIM. Yes; you see I got that name be- 
cause when my papers don't sell fast 
enough, I calls "extra," and then I sells 
out quick. 

TOM. Oh, he's got an eye to business. 

CAPT. So I see. Well, my boy, you 
keep wide awake and I'll see that you 
make more money than you ever did sell- 
ing papers; but haven't we met before? 

JIM. Not that I know of, sir. 

CAPT. Didn't I see you in a row with 
two beggars on pier 66 the night Mr. 
Cleveland was said to have been mur- 
dered ? 

JIM. Are you the man what did up de 
gang for me? 

CAPT. (Laughing). The same. 

JIM. Well, boss, I didn't know yere, in 
yere new togs. But say, how you did 
bluff that tough mug? You'se a thor- 
oughbred, boss, and I'll work for you for 
all I'm worth. 

DORIS. (At door). Here comes the 
Baron and one of his friends. 

CAPT. Coming here? 

DORIS. Yes, they have followed me. 

TOM. (Points to D. L.) Quick, Capt., 
in liere. You will find several disguises 
in there; put on one at once. 

CAPT. All right, but keep them away 
from this door as long as you can. (Exit 
in R. L.) (Jim hides behind boxes. Tom 
pretends to be showing the ladies about 
the place). 

DORIS. What shall we do? They will 
discover him. 

TOM. Keep quiet and pay attention to 
me. (Two girls arm in arm). We can put 
the machinery in there (points off R.) 
and have the freezing room here. (Baron 
and Louis enter C.) 

BARON. Mces Maynard, vat ees it you 
are doing here? 

ANNA. Minding ner own business. 
Others have the same privilege. 

LOUIS. (Coming toward Anna). Oh, 
you don't say so^! 

TOM. (Stepping between them). Y"es, 
she did say so. 

DORIS. Why have you followed me? 

BARON. Ah, we did not follow — we 
saw ze sign "For Rent" on ze build- 
ing and came in to inspect it. (Winks 
at Louis). 

LOUIS. Yes, we came in to inspect it. 

TOM. Well, you are just too late, for 
I have taken the building myself. It's 
just the thing for what I want. 

BARON. And vat vill you use eet for? 

TOM. An ice factory. 

ANNA. Yes; (to Baron) how would 
you like to be the ice man? 



A RACE FOR LIFE. 



BARON. Bah I vat nonsense. Ve must 
look at ze building. (Starts toward D. 
L. Bex falls R. Baron drops cane near 
D. L. He and Louis start R. They 
throw large box aside, discover Jim 
laughing at them. At same time Capt. 
enters from D. L. disguised as Jew rag 
picker, picks up Baron's cane, begins to 
pull out bits of paper with it from be- 
tween boxes). Ze devil! only ze boy. 
Capt. Kettle must be here somewhere. 
(Turns L. sees Capt.) Here, vat are you 
doing wiz my cane . 

CAPT. What! this your cane? I 
thought it belonged to nobody, and may 
be it don't. (Grins). I was using it to 
pick up rags. May be you want it 
back. You don't like me to use it in 
my business. (Spits on handle, wipes it 
en sleeve, hands it toward Baron). I 
clean it all up nice, and give it to you. 
(A wait). You not take it? (Goes up C. 
turns). You not Lal-o it? 

BARON. No. I will not take it from a 
dirty vagabond. 

CAPT. (Slowly backing off C. with a 
silly grin). Veil, I'm not so particular, 
may be. 

"CLOSE IN." 
SCENE II. 

(Dark change to street in 1. Arch cut 
in drop R. of C. backed with dark wall to 
look like alley. Box door L. of C. in 
.which Blinky sits). 

(Blinky discovered at rise, , sitting in 
doorway). (Pug enters L. 1, crosses 
Blinky, strikes match, lights cigar). 

PUG. Is any one looking, Blinky? 

BLINK. No, dere's no one about. (Pug 
drops note in Blinky's cup). 

PUG. Give dis note to Dummy. (Jim 
enters R. 1 E. on a run; stops still as 
he sees note; bus. exit R. 1 E.) He's to 
take it to de Madam at once. It's a plan 
of the Baron's to get Miss Maynard out 
of the way. 

BLINK. What's de matter wid her? 

PUG. She's too flip, and we'se got to 
get rid of her. 

BLINK. What s de lay? 

PUG. The Madam is to let her go to 
Prospect Park to-night to see the 'lectric 
fountain and when she gets dere, we 
either got to abduct her or put her light 
out. She's on to de gang. 

BLINK. Hully gee! 

PUG. Take it easy, and don't lose your 
head. I'm goin' to join de Baron. Give 
dat note to Dummy and tell him to de- 
liver it to de Madam as quick as he can. 
(Exit L. 1 E.) (Enter Tom and Anna 
R. 1 E.) 

TOM. But, Anna, I don't like to have 
you do a thing like that. 

ANNA. How can I help myself? I've 
given my word and I shall stand by it. 

TOM. Why did you ever promise to do 
such a foolish thing? 

ANNA. Because the Capt. needs a cool- 
headed person in that house. 

TOM. Cculdn't Doris do as well as 
you? 



ANNA. No, because they already sus- 
pect her. She is over-anxious and might 
give herself away. Besides, I think it 
will be great sport doing detective work 
for the Capt. 

TOM. Yes, the Capt., the Capt., that's 
all I hear. It's a wonder you don't fall 
in love with him. 

ANNA. Perhaps I have. He's worth 
falling in love with, at any rate. 

TOM. And I suppose I'm not. Very 
well, Angelina Willingham. 

ANNA. You call me Anna Will, or I 
marry the Capt. Roll up your trousers. 

TOM. (Rolling them up). Oh, wait till 
I get hold of the Johnnie Bull that start- 
ed this style; I won't do a thing to him. 

ANNA. If you did not want to be a 
friend of the Capt.'s, why did you help 
him escape? 

TOM. Oh, I want to help him all I can, 
but I can't see the sense of your taking 
your life in your own hands by going 
into that house — it's foolhardiness. 

ANNA. Then trust a fool to get out of 
it. Come along new, we must go down 
to the theatre and have them put on an 
under-study for me while I play detec- 
tive. 

TOM. All right, lead on, Mrs. Sleuth, 
but I've got an idea that I'll be a widow- 
er before I'm a husband. (Exit L. 1 E.) 
(Dum. enters R. 1 E., crosses to Blinky). 

(Jim and Capt. still in Jew disguise, 
appear at arch and watch scene). 

DUM. (To Biink.) Anyting new? 

BLINK. Yes, take dis note (hands 
note) to the Madam at once; it is very 
important. 

DUM. (Puts nrte in tail pocket of cut- 
away coat). I won't lose a minute. 
(Crosses to R. ) 

CAPT. (Coming down L. to Dum). I 
say, my dear friend, haven't you got any 
old clothes to sell? I'll give you a fine 
price for 'em. 

DUM. No, I ain't got no time for you. 
Cut it out. (Starts R. Jim crosses to 
Blink., drops coin in cup with string at- 
tached, then walks on, dragging coin. 
Blinky chases him off L. 1 E. At same 
time Capt. cuts off tail of Dum.'s coat 
and takes out note). 

CAPT. Cut it out. No, I'll cut it off. 

DARK CHANGE. 
SCENE III. 

(Park scene, electric fountain C, not 
running; benches R. and L. 1 E. Blink 
and Dum disc, seated on Bench L. 
Supers strolling back and forth; also 
policeman. Pug and Louis stroll on from 
R. to bench L., where they talk to Blink, 
and Dum. without seeming to Icok at 
them). 

LOUIS. Have you seen her yet? 

BLINK. No, not a sign of her. 

PUG. Do you tink she has tumbled? 

LOUIS. No, she wanted to come bad 
enough. (Baron enters R. 1 E. crosses 
front of bench). 

BARON. She is coming, Icok sharp. 
(Exit L. IE.) 



10 



A RACE FOR LIFE. 



LOUIS. Stay here, boys, and watch out. 
(Exit with Pug L. 1 E.) 

(Enter Doris, followed by Jim, R. 2d). 

BLINK. Yes, we'll have to watch out 
we don't get pinched. 

JIM. (Catching up to Doris). Miss 
Doris! Miss Doris! 

DORIS. You here, Jimmy? What is it? 

JIM. You are in great danger. Capt. 
Kettle knows the plot and sent me on to 
warn you. 

DORIS. What am I to do? 

JIM. Stay with me till Mr. Dutton 
comes. 

DORIS. But Tom does not know where 
I am. 

JIM. Oh, yes, he does. The Capt. has 
sent him word and he'll be here in a few 
minutes. (Looks off R.) Here he comes 
now. Remember, you must do just as 
you are told. 

TOM. (Enters R. 2 E.) Well, what's 
the trouble? 

JIM. Trouble enough! There's a game 
afoot to abduct Miss Maynard or kill her. 

TOM. Kill her! Who wants to do that? 

JIM. Mrs. Cleveland and her gang. 
They'd do worse than that if they knew 
how. 

TOM. What can I do? 

JIM. Stroll en ahead with her as 
though you suspect nothing. The Capt. 
will be here soon, and he will tell, you 
just what to do. He has a scheme tc 
meet them with. 

TOM. Are you afraid, Doris? 

DORIS. No, I will trust Capt. Kettle. 

TOM. Then come, we will stroll on be- 
yond. Jimmie, let me know when the 
Capt. arrives. (Exit L. 2 E.) (Jim cross- 
es to L., watches them). 

DUM. Isn't that the girl? 

BLINK. Yes, and she's got her friend 
with her. (Enter Capt. K., R. 2 E. as 
Jew, with bag over shoulder and cane in 
his hand. Jim runs to meet him). 

JIM. Ah, you are here at last — 

CAPT. Go vay, go vay! don't you 
touch my bag;- you vant to rob me. 
(Aside). Don't recognize me, we are 



watched. (Aloud). You're a bad boy. 
(Aside). Follow me. (Ad lib to exit L. 
2 E. Jim follows yelling). 

JIM. Levi, Levi! Do I look like Irish? 
(Exit L. 2 E. after Capt.) 

BLINK. Dat kid is a wonder. He's de 
one what dropped a coin in my cup and 
had a string on it. I chased him four 
blocks, den slipped up on a banana peel 
and did a cart wheel in the gutter. (Baron 
enters L. 1 E., followed by Pug and 
Louis). 

BARON. Ze abduction vill not do, zere 
is too many people vatching her. 

PUG. Well den, what will we do; take 
her up in a balloon? 

BAR. Oh, you are to comique — you 
make me feel so sad. 

LOUIS. I guess that will settle you. 

PUG. Settle nothing! I want to know 
how we are going to settle "dis job. 

BARON. Zere is only one vay — ven ze 
people gather round ze fountain, ve must 
start a riot, some one hit her on ze head 
and zeu throw her in ze fountain. 

PUG. How about the young fellow who 
is wid her? 

BARON. Leave him alone. He vill be 
scared hife wits out. 

LOUIS. Look out, they are coming. 
(Fountain starts to play). (Tom and 
Jim enter L. 2 E. Jim dressed as Doris). 

BARON. Quick! get to your places. 

(Tom and Jim get C. front of fountain). 
Help! Thieves! Murder! Police! 

(Pug hits Jim on head, throws him into 
fountain. Doris appears at L. 1 E. 
Blinky and Dummy run toward her as 
Capt. enters L. 2 B., comes down between 
them and turns back to them in time to 
knock Dum. down with his bag; reaches 
for piece of paper with cane, gets Blink 
by foot and throws him. Tom crosses to 
Doris. Pug starts R., is met by police- 
man. Jim shows himself above railing 
of fountain, laughing at Louis, who 
stands C. with back to audience. Jim 
pulls off wig and shows tin pan over 
head). 

QUICK CURTAIN. 



ACT THIRD. 



Drawing room full stage; several steps 
leading up to platform which runs from 
L to R. behind balustrade; window in 
flat above steps; doors R. and L. Large 
piano lamp R.; chandelier hanging C. 

(Anna enters at rise on platform C. 
dressed as Irish servant girl; calling off). 

ANNA. Come right in, sor! (bark heard 
outside). Shure, don't be afraid Towser, 
the mon won't bite ye. If yez plaze, sor, 
wipe your feet — yis, that's right — on the 
mat, plaze, not on the lace curtains. 
(Pug enters, looking at Anna in dis- 
gust). Now, don't be skeery, sor, shure 
ye're all right; ye're among friends. 



PUG. (Fiercely). Am I? 

ANNA. (Imitating him). Ye are; faith 
yez can sit doon if yez wants to. 

PUG. Say, dy' tink I'm green? 

ANNA. No, sor; sure, ye were ripe a 
long time afoor the flood. 

PUG. Ycu're too fresh. See? 

ANNA. None too fresh to take care of 
meself, sor. 

PUG. What's yer name? 

ANNA. I can't tell you, sor. 

PUG. Why not? 

ANNA. Because it's a good name, sor. 
Me mither tould me whin I left home tO' 
take gocd care of it, and faith, I'm going 
to do it, sor. 



A RACE FOR LIFE. 



11 



PUG. Where did you come from? 

ANNA. From Ireland, sure. Ye didn't 
think I was a Swade, did ye? 

PUG. I should say not. What part of 
Ireland did you come from? 

ANNA. From that part which is under 
the rule of England, sor. 

PUG. How old are you? 

ANNA. I can't say, sor, as I was sound 
asleep at the christening. 

PUG. Is that so? Well, how long have 
you been here — when did you come? 

ANNA. At about 6 of the clock, sor. 

PUG. When, to-day? 

ANNA. No, last week, sor. 

PUG. It's plain that what you know 
you'll keep to yourself. 

ANNA. There's an ould saying, "That 
whin ye know something, kape it in yere 
head, or soon ye'U know nothing." 

PUG. Well, is Mrs. Cleveland at home? 

ANNA. I'll see; shure there was a 
party wanted to see her a 'ittle while 
ago, but Mrs. Cleveland tould me she 
was not at home; if she has got back yet, 
I don't know. 

PUG. Say, is there anything you do 
know. 

ANNA. I can't tell until I see me at- 
torney. (Baron enters D. L.) Ah, Baron, 
here's a man as wants to know all about 
me past life. I think he's a censustaker, 
I don't know. (Exit D. L.) 

PUG. What is dat? 

BARON. (Looking after Anna with 
hopeless expression). Zat is our new ser- 
vant girl. 

PUG. Well, she's a peach! 

BARON. She ees vat you call ze "Holy 
terror." 

PUG. W^hen did ycu get 'er? 

BARON. Yesterday we got her. Ze 
Madam has discharged all ze old servants 
and new ones got. 

PUG. Why is dat? 

BAR. Ze new ones know less zan ze 
old ones. 

PUG. Dis girl will be all right, for she 
refuses to know anything. (Enter Anna 
at D. L.) 

ANNA. I say, Mr. Want-to-know-it-all, 
the lady is at home and here she comes. 
(Enter Madam D. L. crosses Anna). 

MAD. Ah, it is you, Murphy. (Turns, 
sees Anna, looks at her fiercely; Anna 
hesitates a moment, then rushes off D. 
L.) Es zere anyting wrong? 

PUG. Yes, Louis has been arrested. 

MAD. Arrested for what? 

PUG. For working de con game and 
touching a guy for $.500.00. He was 
caught dead in de act. 

MAD. (Pacing stage). Fool! he had no 
right to take such chances. 

BAR. Do you so much care vat be- 
comes of him? 

MAD. (Turning fiercely). Care! of 
course I do. Do you suppose I want him 
to land us all in the same trap? 

PUG. Are you afraid he'll squeal? 

MAD. To be sure he will if ve don't 
stop his tongue. Hees father was a 
traitor and he vill prove one likewise. 
Have you seen him? 



PUG. Yes. 

MAD. Well, vat does he vant. Out 
v.'iz it! Don't you know every moment 
lost carries you a yard nearer ze prison 
cell? 

BAR. How can ze man speak eef you 
do not give him a chance? He can not — 
(Madam gives him savage look, he stops 
short, shrugs shoulders, goes up stage). 

PUG. He wants you to come and see 
him at once. 

MAD. That's what he wants, but what 
did he say? 

PUG. He said you must get him off or 
he would use means to make you do it. 

MAD. (To Baron). Ah! what did I tell 
you? To save himself he would not hes- 
itate to hang us all. Oh. he is a noble 
rogue! 

BAR. What are you going to do? 

MAD. See him here. 

PUG. Here? 

MAD. Yes; it would not do for me to 
go to ze station. 

BAR. He is in ze hands of ze police. 
You cannot bring him here. 

MAD. Yes, I can. I have ze power. 

PUG. Power! What power? 

MAD. The power vich moves every- 
thing — the power which placed Capt. 
Kettle behind prison bars for our crime. 
The same power his friends used to 
liberate him. It is the power zat has 
corrupted man for ages, the power which 
saves us from the gallows and which we 
sell our very souls for. Gold! Gold! 
(Laughs and throws purse at Pug's feet). 

PUG. (Picking up purse). What will I 
do with it? 

MAD. Go to the police and tell them 
I want Louis, Seaver sent to me under 
escort. Tell them I want to question 
him regarding a theft from me which I 
never reported and vich I now have trac- 
ed to him. Tell this to the police and 
give them a little gold. If they vill not 
do it give them all and if that is not 
enough, come to me and I vill gif you 
enough to buy the soul of every man in 
the city hall. 

PUG. Shall I take a cab or a car? 

MAD. Buy a cab and kill ze horse. 
You have a coward to deal viz. Can you 
afford to waste time? 

PUG. No, Madam, I'm off. (Exit up 
steps and off R.) 

MAD. So, Louis, you have fulfilled 
my expectations. (Cross to small stand, 
take out hyperdermic, use it in wrist). 
You have a traitor's heart. 

BAR. I have spent several summers in 
zis city, but zis ees ze varmest summer 
I have experienced for some time, and 
ze worst of it is, I am afraid eet is go- 
ing to get much varmer. 

MAD. Are you weakening? 

BAR. No. ze prize is a gcod one, and 
I vill make ze fight, but remember, I 
warned you zis game would get us in 
vat you call "ze box." 

MAD. Oh, now, don't confess before 
you are convicted. You seem to be very 
comfortable. 



Loia 



12 



A RACE FOR LIFE. 



BAR. Oui! I am very comfortable so 
far, but ven ze cover of zat box is nail- 
ed down, I'm afraid zere vill not be any 
knot holes for us to crawl through; vat 
zen? 

MAD. Don't crawl, Baron, don't crawl. 
Leave that for the lower classes. When 
you are cornered die like a man. 

BAR. Or like ze rat in ze trap. 

MAD. A rat! Ah, Baron, remember 
your dignity. 

BAR.. My dignity? Oui! oui! Zat is 
vere good. I suppose ze prison vill have 
no honors for me eef I have enough of 
ze dignity. 

MAD. Oh, you might call on the French 
Government to protect the Baron La 
Velle— 

BAR. Oui! And ze French Govern- 
ment would cable back, "Hang ze ras- 
cal!" No, thank you. 

MAD. Then, if you realize the -<^rious- 
ness of ycur position, be a man — win the 
battle or die for it. 

DORIS. (Enters from R. down steps, 
dressed for street; comes down C. quick- 
ly). There is an explanation necessary 
here. 

MAD. Well, what ees it? 

DORIS. Am I to consider myself a pris- 
oner in this house? 

MAD. Why, my dear child, no. 

DORIS. Don't try to deceive me. I 
dressed to go out, but when I reached 
the door I found it locked and a strange 
servant in charge, who would not allow 
me to pass. I asked the meaning of his 
insolence and was informed that he had 
orders to detain me unless accompanied 
by some member of the -family. Was 
this your order? 

MAD. It was. 

DORIS. By what right do you give such 
orders cncerning me? I am able to at- 
tend to my own affairs. 

BAR. But you are not able to protect 
yourself from your enemies. 

DORIS. I am not certain but that the 
danger to me is greater in this house 
than out of it. 

MAD. Now, my dear, calm yourself. 
Yru are doing your only friends a great 
injustice. 

DORIS. How can you be my friends, 
when your conduct towards me is an in- 
sult? 

MAD. My dear girl, ve do not intend it 
zat way, ve are simply trying to protect 
you from those people, who, for some un- 
Ivnown reascn, attempted to take your 
precious life. 

DORIS. Do you protect me from them, 
when you bring me in closer contact with 
them? 

MAD. To whom do you refer? 

DORIS. To the man who left this room 
but a few moment ago. He was one of 
the parties who attempted my life in 
Prospect Park. 

BAR. Mon Dieu! 

MAD. Surely you are mistaken. 

DORIS. I am not. That same man was 
also present and interested in the disap- 
pearance of Mr. Cleveland. 



MAD. (Losing her temper). It's a lie! 

DORIS. If it is, why did he disappear 
at the time of the trial? I will tell you — 
it was because his testimony, if given, 
would have convicted himself and asso- 
ciates. 

MAD. Associates! 

DORIS. Associates! Yes, that is the 
suitable term for these who employ crim- 
inals. 

MAD. Do you dare — (Enter Anna D. L. 
on a run to Doris C.) 

ANNA. Sure, Miss, come at once, the 
cat's out. 

BAR. Ze cat's out? 

ANNA. Yis, and it may gobble up the 
canary. (Exit with Doris D. L.) 

BAR. Ze cover! Zey have begun to 
nail it on ze box. 

MAD. That girl must be put out of ze 
vay at once. Come viz me. (Goes 
toward D. R.) 

BAR. I vill follow you. Madam, to vat 
zey call ze "Grand finish." (Exit both 
D. R.) 

(Tom appears on balcony outside of 
window C, has climbed up from below. 
Anna enters from D. L., sees Tom. who 
raps on window; she starts, puts finger to 
lips, impressing silence. Crosses to D. 
R., listens, then runs up steps, opens 
window. Tom enters). 

ANNA. Romeo! 

TOM. Juliet! 

ANNA. Did Romeo climb the rope lad- 
der? 

TOM. No, Romeo climbed a trellis cov- 
ered with roses and got his hands full of 
thorns. 

ANNA. Then stay where you belong 
and you'll be ail right. Why did you 
come here? 

TOM. To see you, of course. Did you 
think I came to see the cook? 

ANNA. But this is no place for you. 
Suppose you should be discovered? 

TOM. Oh, I won't. That's why I came 
this way. No on,e saw me come in. 

ANNA. But, Tom, suppose they should 
see you go out. What would become ot 
me? 

TOM. You cculd leave and go home, 
couldn't you? 

ANNA. And leave Doris? Not I! 

TOM. How is she? 

ANNA. Doing as well as could be ex- 
pected. Come here and sit down. (Both 
sit on upper step. Tom R., Anna L.) 
The "Heavenly Twins" are in that room 
(points to D. R. ) and I can see them if 
they approach. 

TOM. Are they on the warpath? 

ANNA. Well. I should remark! It was 
only a few moments ago that I saved 
Doris from violence. She forgot herself 
and told them what she knew, and I'm 
afraid something will be done to her, for 
there are suspicious locking people com- 
ing and going all the time through the 
back entrance. 

TOM. Then I'll just keep my eyes open 
on the outside and keep the Capt. in- 
formed. 



RACE FOR LIFE. 



13 



ANNA. Has he learned anything that 
will lead to the discovery of Mr. Cleve- 
land? 

TOM. Not yet, but he is working like 
a madman. I never saw a man so sharp 
and so full of hope and energy. In spite 
of all his danger he is as cheerful as 
ever. 

(Capt. appears on balcony outside; both 
start as though they heard a noise). 

TOM and ANNA. Capt. Kettle! 

CAPT. Now I believe more than ever in 
the old adage. 

ANNA. What is that, Capt.? 

CAPT. "Love will find the way." 

TOM. Whose love, Capt., yours or 
mine ? 

CAPT. That's unkind. Though it 
might exist, don't accuse me of it so 
early in the game. But, while I was out- 
side, wondering how I might effect an 
entrance, Miss Anna, this young cavalier 
came along, jumped the fence and climb- 
ed the trellis. As climbing is easy work 
for a sailor, I followed him. 

ANNA. I suppose you wish to see 
Doris. 

CAPT. Well, I wouldn't object. 

ANNA. Very well, I'll bring her. 
(Exits D. L.) 

TOM. Do you think the girls are safe 
here, Capt.? 

CAPT. Anna, yes; she is too clever and 
experienced to be detected, but Doris is 
different. They surely want her out of 
the way and will carry out their plans 
unless we keep a close watch on them. 

TOM. Then why did ycu let her return 
here? 

CAPT. It was the only thing to do. If 
we were to arouse their suspicions now 
we might scare tnem off. then they would 
put Mr. Cleveland out of the way in real- 
ity and skip the country. 

TOM. I suppose you're right. 

CAPT. Yes, I think I am. The only 
thing to do is to lay low and watch de- 
velopments. (Enter Doris D. L., follow- 
ed by Anna). (Anna goes to Tom on 
steps, Capt. advances down C. to meet 
Doris). Oh, Miss Maynard, I am glad to 
be able to see you again. (Takes her 
hand). May I hope I am a welcome vis- 
itor? 

DORIS. You are welcome, of course. I 
would be very ungrateful were you not. 

CAPT. Ungrateful? 

DORIS. Yes, for your kindness to me, 
and the efforts you are making in behalf 
of my guardian. 

CAPT. Have you no feeling for me 
other than gratitude? 

DORIS. I do not understand. 

CAPT. No; well, would you object to 
being enlightened? 

DORIS. (Dropping eyes demurely). 
They say women are inquisitive, Capt. 

CAPT. Well— 

DORIS. (With a long breath). Well— I 
am a woman. 

CAPT. And a very interesting one to 
me. 

DORIS. You are complimentary. 



CAPT. Not at all. You are worthy of 
all the good things a man could say of 
you. 

DORIS. But I should not let you say 
them. 

CAPT. (Dropping her hand). Consid- 
ering the suspicion I am under, you are 
right. 

DORIS. (Quickly). No, I did not mean 
that — that suspicion has no place In my 
mind. 

CAPT. Nevertheless, Miss Maynard, I 
am wrong in addressing you in this way. 
I am a criminal in the eyes of the law, 
and you know nothing of me that is good. 
I might tell you much about myself, but 
cannot do so at present, but if you knew 
all you would respect and trust me. 

DORIS. I do respect and trust you 
without knowing. 

CAPT. (Pause). I believe you, but I 
want more. 

DORIS. More! What more would you 
ask? 

CAPT. Can't you guess? 

DORIS. I would rather not. 

CAPT. I want — your love. 

DORIS. Are you not asking considera- 
ble? 

CAPT. Yes, the dearest thing on eartk 
to me. Do I ask too much? 

DORIS. You know your own worthi- 
ness, Capt. 

CAPT. Is it a question for me to de- 
cide? 

DORIS. What would you do if at sea 
you found a ship alone and without a 
master? 

CAPT. (Taking her in his arm). I 
should take possession. 

ANNA. (Coming down). I'm sorry, 
Capt., but it's not safe to talk too long; 
you are liable to be interrupted. 

CAPT. You are right. (Goes to easel 
L.. cuts out face of life-sized portrait). 

DORIS. (To Anna). Oh, I forgot that 
you were here. 

ANNA. Don't you worry; we saw noth- 
ing. (Goes up to steps). 

DORIS. (Crossing to Capt.) What are 
you going to do? 

CAPT. Remove this face and substitute 
my own. 

DORIS. For what purpose? 

CAPT. To watch and hear what goes 
on in this room to-night. 

DORIS. Do you think something un- 
usual is going to occur? 

CAPT. I certainly do. Now you must 
be very careful. Do whatever Anna ad- 
vises. Remember, I am near you and will 
protect you with my life. If anything 
dees happen, trust me to save you. 

DORIS. I will. (Gives him her haptd). 

CAPT. Thank you. You don't know 
how happy you have made me. Now ex- 
cuse me and I will show you how I am 
going to fill a new vacancy. (Goes behind 
painting, which has draperies hanging 
from it around easel, so when his face is 
in place at the, opening, the rest of the 
body cannot be seen). 

DORIS. Now you look just like my 
grandfather. 



14 



A RACE FOR LIFE. 



CAPT. Then kiss your grandfather. 
DORIS. Why, Capt. (Looks around, 
sees Anna and Tom ai-e not looking, 
kisses Capt. while his face is in the 
painting; goes up stage quickly, embar- 
rassed. When she is a few steps from 
easel Anna turns and speaks). 

ANNA. Quick, Doris, the rogues are 
coming. 

DORIS. I shall go to my room. Come 
to me there. (Exit D. L.) 

TOM. (Kissing Anna). Good night, my 
dear. (Starts toward window). 
ANNA. Roll up your trousers! 
TOM. Haven't got time. (Disappears 
on balcony. Just as he is out of sight, 
gives a yell). 

ANNA. (Running up to window). Oh, 
my! Tom has taken a tumble. (Closes 
window). Well he's struck a bed of roses 
at last. (Exit R. U.) (Enter Madam R 
2 E., followed by Baron). 

MAD. How long did the Judge say it 
would be before the property could be 
delivered to the heirs? 

BAR. Ze 17th, he said, and zat vould 
be. let me see, yet one veek. (Anna en- 
ters R. U. with card, stands back of 
Madam and listens). 

MAD. Why are zey so slow? Bes zere 
no vay you can hurry zem up? 
BAR. None zat I know of. 
MAD. (Impatiently). Bes zere another 
man in New York who knows so leetle? 
(Turns, sees Anna, takes card from 
tray). How long have you been standing 
zere? 

ANNA. Just a moment, mum, but 
shure I didn't moind it. 

MAD. Show zem in. (Anna exits D. 
R.) Bes Blinky here? 
BARON. Yes. 

MAD. Send him for a carriage. Zat 
girl must be got out of ze vay at once. 
She is dangerous. 

BARON. I vill see to it. (Exit D. L.) 
(Enter Louis on corridor R. M. E., fol- 
lowed by two policemen, who remain up 
stage, while Louis comes down). 

MAD. So you have got yourself in a 
mess, have you? 

LOUIS. Yes, mother. 
MAD. Hush, not so loud. 
LOUIS. Oh, you're ashamed of it, are 
you? 

MAD. Louis, can't you speak to me 
with respect? 

LOUIS. Yes, if I had any for you, but, 
to tell you the truth, mother, I haven't. 
MAD. Then why do you come to me? 
LOUIS. For help. 

MAD. And do you think you vill git it 
viz insults? 

LOUIS. I don't know about the insults, 
but I do know that you will save me. 
MAD. (Sarcastically). Oh, I vill? 
LOUIS. Yes, to save your own precious 
neck. 

MAD. Vould you betray your own 
mother? 

LOUIS. Mother! (Laughs). A fine 

mother you have been — educated me for 
a thief and always used me for your own 
purposes. I've handled jobs for you that 



you could trust to no one else. You've 
made others work, while you've enjoyed 
the plunder. I've earned your protection 
and if I don't get it I'll betray you just 
as quick as I would any other crook. 

MAD. Exposing me would not benefit 
you. 

LOUIS. Wouldn't it? The police would • 
liberate me soon enough if I were to tell 
them Cleveland was not dead, and that I 
could show them where he is imprisoned. 
I rather think I would get a present from 
your late husband in the bargain. 

MAD. So you nave thought it all out? 
LOUIS. A man has plenty of time to 
think in jail. 

MAD. And did you think I vould let 
you stay zere? You say you do not re- 
spect me. Perhaps you cannot, but you 
must not think I have no heart for my 
own flesh and blood. 

LOUIS. If you have a heart then why 
have you taught me nothing but rascal- 
ity? 

MAD. My boy, you were born under 
such circumstances that I could not hope 
for you to be better zan myself. 

LOUIS. I know nothing of those cir- 
cumstances. 

MAD. I know eet, but I vill tell zem to 
you and you may judge me as you vill. I 
do not know where I was born, but I do 
know I vas a foundling in Paree, raised 
by a poor mechanic and hees wife. Zey 
treated me kindly, but I never gave zem 
a daughter's love, as I knew zey vere not 
my parents. I grew to womanhood wiz 
zem, when, one day, I met a man of fine 
appearance and engaging manner, who 
won my love. He remained in ze neigh- 
borhood several months. I met him se- 
cretly. Zere lived in ze neighborhood a 
wealthy family wiz two daughters, wiz 
whom I associated. One day my lover 
asked me to visit their house that night, 
to remain as late as possible, and before 
leaving to unfasten the library window. 
I objected. He promised to marry me if 
I would do it. I consented. As I vas 
leaving him I vas met by one of ze ser- 
vants, who recognized me and also re- 
membered him. That night I visited ze 
house and succeeded in accomplishing 
what he desired. He entered ze house, 
secured ze family jewels and as he was 
leaving, was shot dead in ze library 
window. Ze next day he was identified 
by a vife he had beaten and deserted 
a few months before. Ze servant who 
saw us together spied on me zat night 
and saw me unfasten ze window. Her 
testimony convicted me as an accomplice 
and I was sent to prison, where you vere 
born. Zat man vas your father. 
LOUIS. Is this the truth? 
MAD. It ees ze truth. 
LOUIS. Then in God's name, why did 
you tell it to me. Was it not enough to 
know that I was reared in crime? But 
now, to find I was born in shame, you 
might have spared me that. 

MAD. I told eet to you, my boy, zat 
you might not judge your mother too 
harshly. Love alone was my ruin. A 



!ACE FOK LIFE. 



15 



tad man and fate did ze rest. When I 
came from zat prison I vas a disgraced, 
despised woman. Starvation stared me 
In ze face en every hand. Vone way only 
vas open to me, and zat vas darkness. 
I cursed the memory of ze man who had 
ruined me. and gave myself to crime, 
and as I have lived, so must I die. 

LOUIS. But was it necessary that I 
should go to the devil with you? 

MAD. You know ze lives of your par- 
ents, can you not see zat hell. vas born 
in you? Vould eet have been better if 
you had taken a position among ze re- 
spectable? How long vould eet have 
been before ze social vultures vould have 
laid bare ze skeleton of your family, and 
you vould have been driven from among 
zem viz jeers of scorn? Go where you 
vill, ze hand of every man is against you. 
My boy, ve belong to ze great ai-my of 
ze hopeless. 

LOUIS. You're right, when a fellow is 
dcwn it takes more than a smile to raise 
him. Now I'll go back to jail and trust 
to luck. (Turns toward steps). 

MAD. I have felt bitter against you 
always, because you have reminded me 
so in every vay of your father, but I vas 
wrong, you are not to blame. I shall do 
all I can to save you, but vat vill you do? 

LOUIS. (Pause, advance, takes her 
hands between his handcuffed ones). I 
shall show them there is honor even 
among thieves. (Goes to top of steps be- 
tween policemen, turns and says lightly). 
Come on, boys, I am ready! Good night, 
Mrs. Cleveland. (Exit R. U., followed 
by police). 

BAR. (After Louis' exit, enter Bar. 
hurriedly D. L., comes down C.) Eet is 
done, ze girl has been taken away. 

MAD. It is for ze best. Was eet done 
quietly? 

BAR. Oui! it was done so neatly. Now 
if ve only had Louis' tongue fastened ve 
could once more rejoice. 

MAD. Don't worry about Louis, he vill 
not speak, but ze boy must be saved. 

BAR. Why? 

MAD. Because I wish eet. (Anna 
enters D. L., comes down to easel un- 
seen). 

BAR. But vy zis sudden change of feel- 
ing? 

MAD. Zat is my business. 

ANNA. (To Capt.) Doris has been ab- 
ducted. 

CAPT. Sh— 

MAD. (Turning quickly). Vat vas zat? 

BAR. Ze devil. 



(Crosses L. to easel, walks up stage a 
few steps past easel, watching the face 
intently; turns back suddenly, sticks 
pistol in front of face, which is gone. 
Capt. jumps from behind easel and grabs 
pistol. During this action the following 
lines are spoken by Mad. and Anna). 

MAD. (To Anna). Vat are you doing 
here? 

ANNA. Fighting for the liberty of two 
people you would have out of the way. 

MAD. You are a spy. 

ANNA. Yes, I am a spy, and I have 
done my work well. (Capt. has secured 
Baron's pistol). 

BAR. Capt. Kettle! 

CAPT. Yes, the man you sent to prison 
for your own crime, but who now meets 
you face to face. 

MAD. (Tapping bell on table). You 
shall not escape again. Help! Help! 

CAPT. I know your secret. Mr. Cleve- 
land is still alive; you have abducted 
Doris Maynard; you and all of your cut- 
throat band cannot stop me now, for I 
have sworn to save them both. 

BAR. (Rushes at Capt. from L.) You 
have? (Capt. C. grabs Bar. by throat, 
turns his back to audience, swings Bar. 
to his knees R. of him; holds pistol in 
R. hand, Bar. by throat with L. hand. 
As this is done Anna is L. of C. near 
switch which cuts off electric chandelier. 
Dummy appears at D. R. Blinky at D. 
L Pug and two policemen enter on cor- 
ridor from R. U. B. to steps C. all simul- 
taneously). 

MAD. Seize him, men, it is Capt. Ket- 
tle! 

CAPT. Quick, Anna, turn off the light! 

MAD. Stop her, Blinky. 

CAPT. If he does, I'll kill him! 

(Anna turns button on wall, shuts off 
lighted chandelier; stage lights half 
down). 

CAPT. New, stop me if you can. 

(Fires pistol at large standard lamp R. 
of stage, globe s..attered by a mechani- 
cal device; stage lights all out. A mo- 
ment after Blinky is at the button, turns 
on chandelier, stage lights full up; win- 
dow at C. of back is open, Anna standing 
in window; Capt. supposed to have jump- 
ed out of window. Pug in a heap on the 
steps, two policemen down C. holding 
Baron, whom they have mistaken for 
Capt. K. in the dark. Mad. in a rage. 
Anna laughing). 

END OF THIRD ACT. 
CURTAIN. 



ACT ROUR TH. 



SCENE I. 
(Rough room in tenement, D. in F. near 
C. with spring lock. D. L., window R. 
Time, early evening. 4th of July. During 
act explosions in distance of cannon and 
fire crackers occasionally). 



(Blinky discovered seated at table. 
Pug enters D. in F. at rise). 

PUG. No sign of de Madam yet. (Ex- 
plosion). Unless she comes soon our 
hopes will explode like a bunch of dose 
fire crackers. 



16 



A RACE FOR LIFK. 



BLINKY. Dis has been de toughest 4th 
of July I ever put in. No sport, net even 
de smell of some good old booze, and 
every time I hear a cannon go off, it 
makes my teeth chatter with fright. 

PUG. Well, it's just what I expected 
wid a. woman runnin' tings. I never saw 
one yet dat was goad for anyting. Dey 
gets dere pals in de soup den dey swal- 
lows a bottle of soothing syrup and takes 
a nap while de men fight it out. 

BLIXKY. Well, if I was only a boy 
once more, shooting fire crackers off de 
front steps, and a chance of living my 
life over again, I'd be happy. 

MAD. (Enters D. of F. wearing long 
dark cloak, which she lays aside). Has ze 
Baron been here? 

PUG. No. 

MAD. Bring out ze girl, I vish to see 
her, (Blinky opens door L. and brings 
out Doris), 

PUG. Is dere anyting new? 

MAD. Yen dere ees I vill tell you. 
(Motions him up stage with Blinky). (To 
Doris). Yell, have you yet come to ze 
conclusion zat eet pays to be friendly 
wiz me and mind your own beesiness? 
(Pause). Have you nothing to say? 

DORIS. I can say nothing that would 
interest you. 

MAD. Do you mean zat you cannot or 
vill not? 

DORIS. That I will not betray my 
friends ? 

MAD. Vat do you know of zis C^pt. 
Kettle? 

DORIS. That he is a man accused of a 
crime he never committed. 

MAD. You cannot prove it. 

DORIS. You cannot deny it. 

MAD. At what time did you become 
acquainted wiz him? 

DORIS. At the time when your spies 
were neglecting their duty. 

MAD. You are ngt giving me a satis- 
factory answer. 

DORIS. More so than you deserve, 
Madam. 

MAD. Be careful, vou are in my power. 

DORIS. For the present, yes. 

MAD. I do not vish to harm you. If I 
liberate you, vill you return home and 
not interfere in matters vich do not con- 
cern you? Yill you request zis Capt. 
Kettle to come to ze house so I can see 
him? 

DORIS. If you wish to see him, why 
not remain here? 

MAD. How can he come here? He 
does not know where you are? 

DORIS, I have his promise that he will 
save me, and he will keep his promise, 
no matter where I am. 

MAD. Zen you prefer war to peace? 

DORIS. With you I prefer anything to 
peace, for that would be degrading. 

MAD. Zen listen to me, my romantic 
young lady. Your CapL Kettle is prob- 
ably far from ze city by zis time. If not. 
he is hiding in some cellar to escape ze 
police and detectives, who, knowing of 
his escape from prison, are searching for 
him everywhere. If he shows his face 



ho vill be arrested. He cannot save you. 
You are helplessly in my power. I can 
detain you here for months or kill you 
if I like. Ze Cleveland fortune \'ill be 
in my hands in a few days. Zen no power 
on earth can crush my plans. You chose 
to fight, so fight it shall be. and remem- 
ber, I have no heart. Go back to your 
cell. If you change your mind and vish 
to accept my terms, send for me; if not, 
zen you vill stay zere till you rot, (Goes 
up stage, Blinky comes down, takes 
Doris by arm, puts her in room L.) 

DORIS. Have you no mercy? 

BLINK. (Nods head toward Mad.) She 
told you what to expect, so get in there. 
(Locks door, leaving key in lock). 

MAD. (To Pug). Murphy, go down and 
tell ze coachman to drive home and not 
wait for me. (Exit Pug D. in F.) 
Blinky, you remain here and guard zat 
doer. (Points to D. L.) (Exit Mad. D. 
in F.) (Doris raps on D. L. Blinky goes 
to door). 

BLINK. What do you want? 

DORIS. Can't you open one of these 
shutters and give me some light? 

BLINK. Shut up! You've got light 
enough. (Raps at D. in F Blinky goes 
up, opens it). Come in! Has the old 
woman — (Capt. pushes door open, 
grabs Blink, by throat, kicks door shut). 

CAPT. Speak another word and it will 
be your last. (Drags Blink, to D. L., 
unlocks it). Doris, Deris, are you there? 

DORIS. (Entering). Yes. Capt., but you 
are in great danger. 

CAPT. Never mind me. Here, take 
this pistol. (Hands it to her). You will 
have to stand guard over this fellow, 
while I navigate about a bit. (They exit 
D. L.) (Enter Mad., Pug and Bar. D. 
in L.) 

MAD. What news? 

BAR. Nothing! Ze Capt. is yet at 
liberty. He seems to be ze devil invisi- 
ble. 

MAD. You must keep a strong guard 
about zis building, for he vill probably 
m.ake an effort to rescue zis girl. 

BAR. Have you seen her? 

MAD. Yes. and she defies me. 

PUG. Where is Blinky? 

(Mad. looks about, goes quickly to D, 
L. and calls). Blinky. 

BLINK. (From within, as if forced to- 
by Capt). Yes — 

MAD. Vat are you doing? 

BLINK. Examining the shutters. 

MAD. Be sure zey are secure. 

BAR. But vat are ve to do wiz ze girl? 

(Capt. enters D. L. disguised as Blink. 
CI' ses door, sits near it with face turned 
away). 

MAD. You must get a carriage and take 
her to ze pier. Place her in a small boat 
and carry her aboard ze "Great Ameri- 
can," which lies at anchor in ze harbor. 
Mr. Cleveland is still aboard zat ship. 
Order ze captain to sail at once for South 
America. I dare not keep him or zis 
girl here any longer. 

BAR. Vat vill ve do vhen ve are ready 
to leave? 



A RACE FOR LIFE. 



17 



MAD. I vill make arrangements to- 
morrow for another vessel, and have it 
ready. Now go and get ze carriage. 
When you reach ze pier, you vill find a 
man wiz a small boat waiting. 

BAR. I vish I vas going wiz him. 
(Exit D. in F.) 

PUG. How are you going to carry de 
girl without making a noise? 

MAD. Chloroform her. 

PUG. I tink we'll show dat Capt. a 
pretty slick game. 

CAPT. {Who has been making a noose 
with rope, throws it over Pug's head from 
behind). But the Capt. will tie you! 

MAD. What! Capt. Kettle? 

CAPT. Yes, but please don't bother me. 
This is one of my busy days. Ties Pug, 
unlocks D. L. Doris enters). 

MAD. Help! help! Some one come to 
me. (Crosses and unties Pug). 

CAPT. (To Doris). Come, my darling, 
we have no time to lose. (Both go to D. 
in F., are met by Bar., who rushes in, 
slams door shut and steps pside. Capt. 
tries to open it, but cannot; locks with 
spring lock). You have set it. 

BAR. Yes, and I have ze key. 

CAPT. (To Doris). Well, then, there's 
no use being in a hurry. 

MAD. (To Capt.) So you have placed 
yourself in our hands again? 

CAPT. (Taking Doris in his arms). 
Yes, my dear lady, you have managed to 
keep such attractive bait in your posses- 
sion that I have been tempted to call 
again. 

MAD. And zis time you vill only escape 
in ze spirit. 

CAPT. What do you mean? 

MAD. Zat I am going to set zis old 
building on fire and ze two most danger- 
ous enemies I have vill go up in smoke. 

CAPT. Well, even at that, we will beat 
you. 

MAD. What do you mean? 

CAPT. Why. you won't go up at all. 
You'll go the other way. (Points down). 

DORIS. Capt., will she really do a 
thing so terrible? 

CAPT. She would do worse than that if 
sho knew how. 

DORIS. What can we do? 

CAPT. I don't know just yet — wait. 

MAD. (To Pug). Is there any other part 
of ze building occupied? 

PUG. No. 

MAD. Gcod! Zere vill be no one to 
give ze alarm. It vill be a splendid con- 
tribution to ze American's 4th of July 
celebration. (To Capt.) So you want 
til trap Mrs. Cleveland, do you? Ze re- 
spectable banker's widow. (Laughs). 
Veil, you have had your chance and fail- 
ed. I vill give you a warm reception on 
zis, your last visit, and vhile you are 
roasting I vill go back to my palace on ze 
avenue and vait a few days longer until 
ze entire estate of my late lamented hus- 
band is placed in my hands. Zen I vill 
sail avay from this delightful city, and 
my dear husband, now on board ze "Great 
American" in ze harbor, vill return to 
his friends, a bankrupt widower. Tink 



it over, young man, and you vill see it 
is better to mind your own business and 
let other people alone. Better to stay in 
state's prison zan to roast here. My 
friend, you have "jumped out of ze fi-y- 
ing pan into ze fire." (To Pug and Bar.) 
Come, we must start our fireworks. 
(Exit D. in F., Mad. in door). I am very 
much obliged to you, Capt., for your last 
visit. I shall now be able to rest easy 
for the first time in a month. (Exit). 
(Bar. in door). 

BAR. Au revoir! You vill now be, vat 
you call eet, hot members. (Capt. starts 
for him). 

CAPT. What's that? . 

BAR. (Exit quickly in terror). Help! 
help! 

DORIS. Think, Capt., is there nothing 
we can do to escape? 

CAPT. Yes, there is, but it will take 
all your courage. 

DORIS. I will do anything, but you 
must be saved also. 

CAPT. The means will save us both. 
(Talies rope, passes noose around her 
waist). I will let you down from the 
window: you must keep hold of the rope 
with one hand above. 

DORIS. You will come, tco? 

CAPT. Yes, I will tie this end and slide 
down after you. (Lets her out of win- 
dovv R.. letting out rope rapidly until he 
rt-aches the end. Rope should appear to 
be Icng enough to let her down about 3 
flcors). Steady, my girl, steady; hang on 
tight. Don't catch on that shutter be- 
low. Courage, now, you are almost 
there). 

(Pug bursts into room, followed by 
Bar. and Mad.) 

PUG. What are you doing there? 

CAPT. Teaching the lady a little tight 
rcpe act. 

PUG. Drop that rope. 

CAPT. All right, we won't quai-rel 
about it. (Lets rope fall out of window). 

MAD. Where is the girl? 

CAPT. Safe on the roof below. You 
v.on't burn the whole block, will you? 

MAD. Pug, you and the Baron go at 
orice on board ze "Great American," and 
order ze captain to sail immediately for 
South America wiz Mr. Cleveland. 

BAR. But, shall ve leave you here? 

MAD. Yes, I can take care of myself. 

BAR. Very well, come. (Exit >ith 
Pug, closes door with a click). 

MAD. Ze fire ees light. I vill make 
sure eet is veil started before I leave you. 

CAPT. Going to stay and see me cook, 
are you? 

MAD. I am going to make sure zat my 
most dangerous enemy has no chance to 
escape. 

CAPT. Suppose I should attempt to get 
out. (Starts toward door). 

MAD. (Drawing pistol). Zen I vould 
shoot you. (Flames shoot through wall 
L. of stage). 

CAPT. W'ell, here comes the fire. I 
suppose we must part. 

MAD. Yes. I vill leave you. for now no 
power on earth can save you. (Tries to 



18 



A RACE FOR LIFE. 



open door, which is locked with spring 
lock: it will not open). Locked! 

CAPT. Yes, Madam, with a spring lock, 
and the Baron has the key. 

MAD. (Beating on door with fists). 
Help! help! help! What will I do? 

CAPT. Stay here and roast with me, I 
guess. 

MAD. Think, man, is there no way to 
escape? 

CAPT. Yes, if you're a gcod sailor, fol- 
low me. (Up to window R.) 

MAD. Where are you going? 

CAPT. Going to join my sweetheart on 
the roof below. (Stands on window sill, 
reaches out over his head and swings out 
as though hanging to something outside 
that is fastened above the window). 

CLOSE IN. 

(^^'ith drop in one representing burn- 
ing building, policeman runs across, cry- 
ing fire, supers also run from R. to L. 
After this Tom and Jim enter supporting 
Doris between them). 

SCENE SECOND. 

TOM. Are you badly hurt? 

DORIS. No, only frightened a little and 
my ankle is turned. 

JIM. Where is the Capt.? 

DORIS. Still in the building. He said 
lie would slide down the rope after me. 
Oh, if he should not escape. 

TOM. Don't worry, dear, the Capt. is 
too clever a man to be caught in any 
trap. 

JIM. You bet! If the rope breaks he'll 
tie it together in mid-air. You've got to 
hold all the cards in the deck against him 
before he gives up. 

TOM. Who is this coming? 

DORIS. It's that dreadful Baron and 
one of his men. 

JIM. Well, Tom, you know the trick, 
be ready for it. 

PUG. Here she is. (To Doris). Come 
on, we want you. 

TOM. And what do ycu want of her? 
(Tom C, Doris R. of C, Bar. crosses to 



R. of Doris. Jim crosses to L. of Pug from 
behind. Pug is just L. of Tom). 

PLTG. Dat's our business. 

BAR. Oui! zat is our business. 

JIM. Hully gee! hear de frogs croak. 

PUG. (To Jim). You keep your trap 
closed. See! 

JIM. Oh, I don't know: you ain't so 
plentiful. 

TOM. What do you want of this lady? 

PUG. You send her along wid us or 
we'll show you. (Jim has dropped on hands 
and knees behind Pug. As he does this 
Tom hits Pug en jaw. he falls backwards 
over Jim. Pug gives howl of pain, gets 
up, holding hand to back of head and 
staggers off L. Jim takes a rush on Bar., 
who starts to exit R. Jim makes a loop, 
winds his legs around Baron's waist and 
thumps him on head. Bar. exits yelling). 

BAR. Help! help! Take him cff! etc. 
(Exit R. 1 E. Tom and Doris follow 
them off R. 1). 
CHANGE TO SCENE III. ACT FOUR. 

(Two high buildings, one R.,one L. The 
right one just shows side of building, 
the one L. projects on stage about .5 feet, 
is about 3 feet high, giving the appear- 
ance of a blind alley. Between the 
two buildings is rope crossing from roof 
of one building to the other with large 
flag hanging C. Building on Are, steam 
pouring out of walls; also flame. Capt. 
is discovered climbing out over flag 
rope, hand over hand, until he reaches 
flag, in the folds of which he slides down 
to the roof below. During this time Mad. 
has been calling for help at upper front 
window. As Capt. reaches roof there is 
an explosion and the burning building 
falls in. Madam is drawn away by a 
harness fastened from above, or on slid- 
ing platform, so it appears as the build- 
ing falls, she goes with it. This action 
and Capt. reaching lower roof occur 
simultaneously.) 

CURTAIN. 

END OF FOURTH ACT. 



ACT RIFTH. 



(A small sail boat discovered C. In it 
are Pug and Baron, when stern of boat 
rises on waves Capt. is seen clinging to 
it. Scene is East River; boat remains 
stationary. Panoramic drop is used, and 
is kept in motion, showing points of in- 
terest along the shore, illuminated. 
Direction of boat towai'd outer bay. At 
finish of moving scene the stern of large 
sailing vessel works slowly on to stage 
from L. As this works on small boat 
works off R., but at same time both 
boats are getting nearer each other. 
When small boat is off large one fills 
full stage. This large vessel is worked 
on wires drawn tight across from one 



fly gallery to the other. All sail rigging, 
etc., is hung on those wires, and can be 
drawn on by means of a windlass, keep- 
ing up a steady movement and avoiding 
vibration. The whole ship can be built 
on net and hung from the flies or lower 
ponion of boat can be made of some 
independent moving arrangement, but all 
must work in unison. When vessel is on 
it will be pointed from R. to L. across 
stage. There must be a practical side of 
vessel up stage, over which entrances are 
made from the back. When large vessel 
is in place, Pug and Bar. enter over 
side C. 



A RACE FOR LIFE. 



lU 



PUC. (Calling). Captain! Captain. (To 
Bar.) Dey keeps a good watchout here. 

BAR. Zey are very careless. 

CAPT. B. (Entering from L.) Ah, how 
are you, me hearties? Have you come 
aboard to see our wealthy guest? 

BAR. Yes, you must sail wiz him as 
soon as eet is possible. 

CAPT. B. Trouble brewing, eh? 

PUG. Yes, the devil's to pay. 

CAPT. B. All right, I'll be ready to sail 
in half an hour, but come to my cabin 
and have a drink o' grog. 

PUG. I don't care if I do. 

BAR. Zat vill suit me, and at ze same 
time ve can arrange our future plans. 
(All exit L.) (Capt. Kettle enters over 
side of vessel C. Comes down, looks 
about, goes L., examines, goes R., same 
biz, comes C, looks at hatchway, kneels 
down, listens, appears to hear something. 
At this point a young sailor comes on 
from R., stands back and watches. Capt. 
raps on door, rap is answered. Sailor 
leaps on Capt.'s back as he is bent for- 
ward on hands and knees. Capt. catches 
him by throat as his head comes for- 
ward over Capt.'s shoulder. Capt. gives 
him a throw forward, which causes sailor 
to land on his back in front of Capt. 
Capt. still keeps hold on sailor's throat, 
drags and pulls .am up to side of boat, 
gives him a. ouick twist and throws him 
overboard. Capt. rushes back to hatch- 
way with a hatchet he has picked up at 
back of stage, knocks lock off door, 
raises it. 

CAPT. Is Mr. Cleveland here? 

CLEVE. Yes. 

CAPT. Then, for God's sake, come 
quick. 

CLEVE. (Appears above hatchet, Capt 
K. faces him). Edward! 

CAPT. K. Father! (They clasp hands). 
Quick, they are coming. Get to the side 
of the vessel and fight for it. (Both go 
up C. Pug, Burnham and Baron enter L). 



PUG. There's that Capt. Kettle and 
he's let our man out. 

BAR. Seize 'em both! (Pug and Bar. 
rush at them). 

CAPT. (Places Cleve. behind aim, 
raises hatchet). Yes, come on, and in ten 
seconds there'll be two new faces in hell. 
(Pug falls back R., Burnham L. Capt. and 
Cleve. C.) 

BAR. What do ve care for ze lettle 
hatchet. Your lives stand between us 
and fortune, do you tink ve will spare? 

CAPT. No; I believe you would kill 
your own father for his last nickel. 
Why should we expect any mercy? 

BAR. And you vill not get it, for I am 
going to kill you both and feed you to 
the fishes. Draw your pistols, men, and 
ven I give ze order, shoot zem both. Are 
you ready? 

PUG. and BUR. We are. (Capt. and 
Cleve. face them boldly, clasping each 
other's R. hand). Aim! (Pause). One — 
two — (Police boat shoots alongside. 
Officer calls). 

OFF. Surrender, in the name of the 
law. (Poli-ce climb over side of boat 
on to stage. Doris, Tom, Anna and Jim 
enter with them C.) 

TOM. (Capt. and Mr. Cleveland, you 
are saved, but none too soon. (Tom goes 
to Anna, Doris goes to Capt.'s arms). 

CLEVE. (Taking Capt.'s hand). 
Friends, this is my son, Edward, whom 
I had disinherited, but whom I am proud 
now to reinstate. (To Capt.) My boy, 
what can your father do to show his 
gratitude? 

CAPT. Give me here, on board the 
"Great American," the hand of the lady 
I refused seven years ago. (Bus.) 

CURTAIN. 

END OF PLAY. 



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